Capella de Ministrers is an early and medieval music ensemble formed in 1987 in Valencia, Spain by its director, the Valencian musicologist Carles Magraner. Capella de Ministrers is recovering the musical heritage from an astounding and up-to-date perspective:early music combined with the latest technology. This first album of the trilogy dedicated to Ramon Llull , "Conversion, study and contemplation," illustrates the youth of Ramon Llull, devoted to sensual pleasures to profane love and the cultivation of the troubadour lyric, seen through the prism of the convert who has left the vanities of the world.
Peregrinatio is the second part of the trilogy Ramon Llull: lúltim pelegrinatge.The music of this album will accompany the first Ramon Llull's travels outside the territories of the Crown of Aragon and Majorca. After his years of learning and his failed experience of founding the Monastery of Miramar, Llull personally will take the reins of the project and since 1287 we will find him traveling around the Mediterranean to present their missionary projects to Kings and Popes: the first trips draws musical scene of Llull s visit to Paris and music that move us to Genoa, where he plans to sail to Tunisia.
La Capella de Ministrers y su fundador, el violagambista y director valenciano Carles Magraner, celebran por todo lo alto los veinte años de andadura de un conjunto que es hoy ya una referencia inexcusable en el mundo de la música antigua. Y lo hacen mediante una exposición fotográfica que se acaba de inaugurar en Valencia y dos lanzamientos discográficos: un recopilatorio de su trayectoria, que lleva el inspirado título de Tempus Fugit y una absoluta novedad, el album La Spagna, recorrido por el universo de las danzas del Renacimiento español.
Leonardo da Vinci (1452–1519) is generally characterized nowadays as a “universal genius”, although any attempt to apply this term to a figure from the 15th or 16th centuries is not without its problems. After all, the view that an individual whose creative endeavours came from within himself was a “genius” is a radical innovation of the 17th and 18th centuries. Prior to that date it had not been the originality of the creative endeavour that was decisive for its status as a work of art but the category of imitatio – the artist’s ability to take his cue from models created by older authorities. Only in aemulatio – the artist’s desire to compete with and surpass his rivals – was there any scope for innovation. The present recording is largely centred around the frottola, a musical genre that emerged in Leonardo’s day from Upper Italian courts such as those of the House of Este (no. 10) and that is illustrated by pieces like Il marchese di Salutio (no. 1). The frottola quickly spread to the rest of Europe thanks not least to the printed editions produced by Ottaviano Petrucci. Among the composers who are mentioned by name, Bartolomeo Tromboncino (no. 18) and Marchetto Cara (nos. 5, 8 and 14) are among the frottola’s leading representatives.
What you get on this release by veteran countertenor Dominique Visse and the Capella de la Torre is something less accessible than what is suggested by the Vinum et Musica title but more accessible than the pedantic subtitle "Songs & dances from Nuremberg sources (15th & 16th century)." The collection of pieces here is a sort of tour of the city of Nuremberg, an important German city in Renaissance times but not one that was home to its own compositional school.